Agni Purana — Sahitya-shastra, Shloka 36
Chapter 338 — शृङ्गारादिरसनिरूपणम्
Exposition of the Rasas beginning with Śṛṅgāra
विभावो नाम सद्वेधालम्बनोद्दीपनात्मकः रत्यादिभाववर्गो ऽयं यमाजीव्योपजायते
vibhāvo nāma sadvedhālambanoddīpanātmakaḥ ratyādibhāvavargo 'yaṃ yamājīvyopajāyate
विभाव दो प्रकार का कहा गया है—आलम्बनात्मक और उद्दीपनात्मक। रति आदि भावों का यह वर्ग अपने उपजीव्य/आश्रय (जिसके आधार पर वह टिकता है) के सन्दर्भ से उत्पन्न होता है।
Lord Agni (teaching the encyclopedic disciplines of the Agni Purana, here Kavya-śāstra)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Rasa theory toolkit: identify vibhāva as twofold (ālambana/uddīpana) to design scenes that reliably generate rati and other bhāvas in drama/poetry.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Vibhāva-dvaya: Ālambana and Uddīpana","lookup_keywords":["vibhava","alambana","uddipana","rati","bhava"],"quick_summary":"Vibhāva (determinant) is of two kinds: the supporting locus (ālambana) and the exciting stimulus (uddīpana). Bhāvas like rati arise with reference to their proper locus and are intensified by stimuli."}
Alamkara Type: Samanya (rasa-nirūpaṇa; vibhāva-lakṣaṇa)
Concept: Emotional experience in art is structured: a stable bhāva requires a locus (ālambana) and is awakened by stimuli (uddīpana).
Application: When crafting a śṛṅgāra scene: define the lovers (ālambana) and add season, music, fragrance, moonlight, ornaments (uddīpana) to awaken rati without overt exposition.
Khanda Section: Sahitya-shastra (Kavya-śāstra: Rasa–Bhāva–Vibhāva Nirūpaṇa)
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"A schematic yet vivid scene showing lovers as ālambana and moonlight, spring blossoms, music as uddīpana, producing rati-bhāva.","kerala_mural_prompt":"Kerala mural: central couple (ālambana) framed by spring creepers, moon, bees, and lamp-light (uddīpana) rendered as symbolic motifs; decorative borders, flat iconic composition.","tanjore_prompt":"Tanjore: ornate couple with gold-highlighted jewelry (ālambana) and gold-embossed moon, flowers, incense smoke (uddīpana) around; rich reds/greens, temple-like framing.","mysore_prompt":"Mysore: instructional painting with two labeled clusters—ālambana (hero/heroine) and uddīpana (seasonal cues, music, setting)—arrows converging to a heart/lotus labeled rati; fine linework.","mughal_miniature_prompt":"Mughal miniature: garden at night with couple seated, musicians nearby, moon and blossoms detailed; subtle cues (perfume, breeze) indicated through delicate visual metaphors."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bihag","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: sadvedhālambanaoddīpanātmakaḥ→sat-vedha-ālambana-uddīpana-ātmakaḥ; vargo 'yaṃ→vargaḥ ayam; yamājīvyopajāyate→yama-ājīvya upajāyate (a + u sandhi → o).
Related Themes: Agni Purana Sahitya-śāstra: definitions of anubhāva and vyabhicāri-bhāva following vibhāva; Agni Purana Natya-related sections on character types and stage presentation
FAQs
It teaches a core concept of Kavya-śāstra/Rasa-śāstra: vibhāva (determinant of emotion) is twofold—ālambana (locus/person-object) and uddīpana (stimulus)—which generates bhāvas such as rati.
By giving compact textbook-style definitions from Sanskrit poetics (normally taught in Nāṭya/Kāvya traditions), the Agni Purana functions as a multi-disciplinary manual beyond ritual—covering aesthetics, literature, and theory of emotion.
It refines discernment (viveka) about how emotions arise from causes and supports; such clarity is traditionally valued for self-mastery and for using art and speech (kāvya) in a dharmic, elevating way.